Diego Semerene

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For 143 reviews, this critic has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

Diego Semerene's Scores

  • Movies
  • TV
Average review score: 53
Highest review score: 100 Beginners
Lowest review score: 0 In Search of God
Score distribution:
  1. Positive: 69 out of 143
  2. Negative: 53 out of 143
143 movie reviews
    • 50 Metascore
    • 38 Diego Semerene
    Hood to Coast mostly suffers from an incessant soundtrack that stuffs the film with a peppiness that blocks the tragedy of its characters from view, as well as their overcoming it.
    • 36 Metascore
    • 38 Diego Semerene
    For a film so proud of its trail-blazing status ("the first 3D erotic movie"), 3d Sex and Zen is certainly driven by the same good old symptoms.
    • 57 Metascore
    • 38 Diego Semerene
    In the documentary, the game is a make-believe war of pent-up frustrations linking race, nation, and manhood, one which teenage boys named Mohamed can actually win.
    • 53 Metascore
    • 38 Diego Semerene
    Private Romeo feels more like a side project from the producers of Glee than some kind of novel queering of Shakespeare's text.
    • 44 Metascore
    • 38 Diego Semerene
    Oh, the hilarious awkwardness of placing privileged white kids in a place where they don't belong.
    • 67 Metascore
    • 38 Diego Semerene
    Though there's something refreshing, and disturbingly familiar, about Kevin Sheppard's spontaneity, he's certainly not the most interesting thing about the film.
    • 61 Metascore
    • 38 Diego Semerene
    A shallow film that leaves us knowing exactly what we're seeing, and able to predict what the characters will say to each other in the mostly uninspired and overtly familiar dialogue.
    • 44 Metascore
    • 38 Diego Semerene
    Bruno Barreto's insistence that this pass for a product that Hollywood might have spawned smoothens a journey built on sharp edges.
    • 34 Metascore
    • 38 Diego Semerene
    Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
    • 58 Metascore
    • 38 Diego Semerene
    Whatever predictable plot the film tries to unfold never lives up to the excitement of its conceptual gimmick.
    • 36 Metascore
    • 38 Diego Semerene
    The drama over dinner comes in small analgesic portions, and the secrets feel canned and the dialogue is too pretty to be believable.
    • 57 Metascore
    • 38 Diego Semerene
    It's difficult to swallow the premise of yet another tale of a heroic white Westerner with good intentions trying to give hope to Middle-Eastern misery.
    • 73 Metascore
    • 38 Diego Semerene
    The film is simply too conscious of its form and its global-market ambitions to ever feel honestly interested in the themes it purports to cherish.
    • 33 Metascore
    • 38 Diego Semerene
    The film is, like its main character, too naïve to understand or, at least, to deploy the reparative powers of camp.
    • 59 Metascore
    • 38 Diego Semerene
    The dialogue is so disaffected it's as if humans were replicants even before going through the aforementioned twin-making procedure.
    • 66 Metascore
    • 38 Diego Semerene
    The unapologetic lack of political correctness never goes beyond a one-dimensional and tentative provocation.
    • 55 Metascore
    • 38 Diego Semerene
    The allegorical possibilities of a disintegrating wall point to a film that could have been.
    • 76 Metascore
    • 38 Diego Semerene
    Xavier Giannolli consistently glosses every sequence with a stagey kind of humor, and at the main character's expense.
    • 65 Metascore
    • 38 Diego Semerene
    It's difficult to believe in Ryder's gullibility, if not willingness to be caught in his uncle's strange web of provocations.
    • 69 Metascore
    • 25 Diego Semerene
    Judging from The Sleeping Beauty, and the previous "Bluebeard," the provocations stop with the choice of the material, as the tone and style of these films are jarringly well-behaved.
    • 52 Metascore
    • 25 Diego Semerene
    This time-tested project of tracing gayness back to when its shame was so explicitly enforced feels not only passé, and naïve, but mostly unproductive in a post-Judith Butler world in which drag queens are on TV teaching biological women how to better perform womanhood.
    • 34 Metascore
    • 25 Diego Semerene
    The actors are left to go through the motions of a sterile script that director Dennis Lee tries to bring to life not through, for example, Watson's brilliant capacity for facial nuance, but through canned artifice.
    • 19 Metascore
    • 25 Diego Semerene
    Taking the pedestrian and decidedly unsexy American male to Paris so he can become a sexual human being attuned to life's small pleasures is a tired device that perhaps only Woody Allen could possibly resurrect from the stinky pile of cinematic clichés.
    • tbd Metascore
    • 25 Diego Semerene
    Rarely leaves the realm of the obvious and the literal.
    • 40 Metascore
    • 25 Diego Semerene
    Having the far from goody-goody Kathleen Turner play a holier-than-thou mother bent on winning a devout church title is an inherently hilarious premise.
    • 37 Metascore
    • 25 Diego Semerene
    The Samaritan treads a fine line between film-noir moodiness and crime-thriller triteness, mostly settling for the latter.
    • 20 Metascore
    • 25 Diego Semerene
    While it lends itself to some interesting insight on the politics of non-exclusive, fuck-buddy dynamics, its characters are ultimately too one-dimensional and their dialogue too theatrical to sustain an involving cinematic experience.
    • 45 Metascore
    • 25 Diego Semerene
    As hard as he tries, we never truly believe there's a lot at stake for Garner, who seems to cruise through America like a gringo taking a favela tour in Rio.
    • 44 Metascore
    • 25 Diego Semerene
    Doug Langway's film is often too cheesy to, well, bear.
    • 50 Metascore
    • 25 Diego Semerene
    There's no pointing toward something other than the work itself, no poetic digression, no suggestion of a conceptual dimensionality to the work being produced.

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